Topics

Geared towards art collectors, patrons, art professionals and those seeking the tools to appreciate and understand investment in the art world, Arnoldii Lectures provide basic inroads to understanding and appreciating complex issues surrounding the development of contemporary art, and insights into the world of collecting. The lectures are taught by individuals in the art world who have both academic understanding and professional practical experience.

Southeast Asian Contemporary Art

Southeast Asian Contemporary Art

Southeast Asian Contemporary Art

Investigates the origin of Southeast Asian contemporary art and examine its position today in Singapore and on the international stage, and be equipped with essential historical references with which to comprehend, appreciate and debate contemporary art trends. Addressing the complexities of socio-political influence on contemporary art and the power of art to promote change, Ho will examine the significant role of the Abstract Art movement in Southeast Asia during the twentieth century and consider global influences on regional art today.

 

HISTORY OF SOUTHEAST ASIAN CONTEMPORARY ART


This three class course investigates the origin of Southeast Asian contemporary art and examines its position today both in Singapore and on the international stage. The course provides students with an essential historical reference with which to comprehend and appreciate contemporary art trends. Addressing the complexities of socio-polotical influence on contemporary art and the power of art to promote change, the course will also investigate the significant role of the Abstract Art movement in South East Asia during the 20th Century and considers global influences on regional art today.

 

Topic 1: PRE-CONTEMPORARY VISIONS: RETHINKING THE NANYANG SCHOOL

Topic 2: CONTEMPORARY ART IN SINGAPORE

Topic 3: ABSTRACTION IN SOUTHEAST ASIA

 

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PRE-CONTEMPORARY VISIONS: RETHINKING THE NANYANG SCHOOL

The Nanyang School has long been enshrined as a founding moment in the narrative of local art history – a uniquely Southeast Asian hybrid of East and West, an early example of what we dub the ‘glocal’ today. Yet, viewed from the vantage point of the present, it seems as if the time is ripe to take a second look at this particular formulation: the concerns and the iconography of the Nanyang School painters betray a certain romantic, essentialist approach to the portrayal of life in the so-called South Seas region, especially in a period of tempestuous, often acrimonious decolonization, and all its attendant socio-political issues.

 

CONTEMPORARY ART IN SINGAPORE I

What does contemporary Singapore art look like? In an era of globalization and digital connectivity, with a prodigious expansion of the visual arts infrastructure (the Art Stage fair, the Gillman Barracks, the upcoming National Art Gallery etc.), how is artistic practice here both co-opted by and resistant of broader currents of internationalism and control? This lecture examines specific objects, and forms of display, in the little red dot in the twenty-first century: both large-scale and small-, commercial and un-commodifiable, socially-conscious and otherwise; from painting to photography to installation, from conceptualism to performance to relational, participatory projects.

 

CONTEMPORARY ART IN SINGAPORE II

What does contemporary Singapore art look like? In an era of globalization and digital connectivity, with a prodigious expansion of the visual arts infrastructure (the Art Stage fair, the Gillman Barracks, the upcoming National Art Gallery etc.), how is artistic practice here both co-opted by and resistant of broader currents of internationalism and control? This lecture examines specific objects, and forms of display, in the little red dot in the twenty-first century: both large-scale and small-, commercial and un-commodifiable, socially-conscious and otherwise; from painting to photography to installation, from conceptualism to performance to relational, participatory projects.

 

ABSTRACTION IN SOUTHEAST ASIA

In the twentieth century, abstract art has been the subject of more than merely formalist or aesthetic considerations. Its trajectories in Southeast Asia, for one, have been tied to projects of modernism and nation-building, often framed within binaries of abstraction vs. realism, Western values vs. traditional ones, the new vs. the old. This talk focuses on the development of abstract art in Southeast Asia at the point of its emergence from the colonial past into independence – i.e. the turbulent decades of the 1950s through the ‘70s, with a particular focus on Singapore, Malaysia and the Philippines